『廢墟』 동인과 야나기 무네요시(柳宗悅) = P’yehŏ(『廢墟』) Coterie And Yanagi Muneyoshi(柳宗悅)

다국어 초록 (Multilingual Abstract)

This paper is aimed to consider the literature of P’yehŏ Coterie and Yanagi Muneyoshi with the thought which they had owned jointly. All the members of P’yehŏ Coterie had gone abroad to study in Japan and they were in the center of modern ages translated through their study abroad experience. They also had developed literature of relationship affected by various people and thoughts. The theory of sorrowful beauty of Yanagi Muneyoshi was not accepted directly by P’yehŏ Coterie and they got to observe Chosun and Japan in the mutually influential relationship. In this point of view, it can be found that P’yehŏ Coterie and Yanagi Muneyoshi had held anarchism in common but they gained different currency with each other within such a reciprocal thought.
Interchange between Yanagi Muneyoshi and P’yehŏ Coterie had been in various methods such as publication of magazine like a P’yehŏ, exposition of concerts and lectures, translation, correspondence of letter, inspection of art museum, etc. And these aspects of correspondence had been represented in the form of literature. It revealed that Japanese and the people of Chosun had felt sorrow of self-gazing while accepting the new trend of thought from the scene in which they looked at and called the roll toward their own races. All the members of P’yehŏ Coterie had commonly kept passion of developing new culture through the art and religion from Hwang Seok-Woo who left P’yehŏ Coterie early by reason of differences in ideology to Yeom Sang-Seop who had presented straightforwardly the influence from Yanagi Muneyoshi in his works.
Influential relationship with Yanagi Muneyoshi can be seen from essays of Hwang Seok-Woo, who had wanted to make changes of the people of Chosun by introducing world’s new trend of thought as a proposal of improvement, Oh Sang-Soon, who had thought reconstruction of art and literature of Chosun through the christian mysticism transformed from the theory of religious art of Yanagi Muneyoshi and Lee Ik-Sang, who had found ruinous beauty from religious love of mankind, etc. There were also some people who had projected the theory of aesthetics of Yanagi Muneyoshi into their works of literature. Yeom Sang-Seop had reflected activity of Chosun at death’s door by appropriating the theory of art of Yanagi Muneyoshi. Nam Goong-Byeok had presented aesthetics of self-discovery through the imagination and intuition about nature. And Min Tae-Weon had insisted literature of life and blood from reversal of Yanagi Muneyoshi’s view of nature. Byeon Young-Rho, Na Gyeong-Seok et al. represented reception and criticism of foreign ideologies in their essays by making Yanagi Muneyoshi as a node. Byeon Young-Rho had severely criticized vague praises about Korean white principle. Na Gyeong-Seok had insisted the literature of the common people as being free from proud in loneliness principle of art supremacy.
Tendency of being literature of intuition, new life and personality shown by P’yehŏ Coterie connected to the difference between Chosun and Japan, which had been experienced by them from the period of study abroad. In the same time, It had revealed difference of realization between Yanagi Muneyoshi and P’yehŏ Coterie. The former just only had looked at Chosun from outside but the latter had lived in Chosun.

다국어 초록 (Multilingual Abstract)

This paper is aimed to consider the literature of P’yehŏ Coterie and Yanagi Muneyoshi with the thought which they had owned jointly. All the members of P’yehŏ Coterie had gone abroad to study in Japan and they were in the center of modern ages translated through their study abroad experience. They also had developed literature of relationship affected by various people and thoughts. The theory of sorrowful beauty of Yanagi Muneyoshi was not accepted directly by P’yehŏ Coterie and they got to observe Chosun and Japan in the mutually influential relationship. In this point of view, it can be found that P’yehŏ Coterie and Yanagi Muneyoshi had held anarchism in common but they gained different currency with each other within such a reciprocal thought.
Interchange between Yanagi Muneyoshi and P’yehŏ Coterie had been in various methods such as publication of magazine like a P’yehŏ, exposition of concerts and lectures, translation, correspondence of letter, inspection of art museum, etc. And these aspects of correspondence had been represented in the form of literature. It revealed that Japanese and the people of Chosun had felt sorrow of self-gazing while accepting the new trend of thought from the scene in which they looked at and called the roll toward their own races. All the members of P’yehŏ Coterie had commonly kept passion of developing new culture through the art and religion from Hwang Seok-Woo who left P’yehŏ Coterie early by reason of differences in ideology to Yeom Sang-Seop who had presented straightforwardly the influence from Yanagi Muneyoshi in his works.
Influential relationship with Yanagi Muneyoshi can be seen from essays of Hwang Seok-Woo, who had wanted to make changes of the people of Chosun by introducing world’s new trend of thought as a proposal of improvement, Oh Sang-Soon, who had thought reconstruction of art and literature of Chosun through the christian mysticism transformed from the theory of religious art of Yanagi Muneyoshi and Lee Ik-Sang, who had found ruinous beauty from religious love of mankind, etc. There were also some people who had projected the theory of aesthetics of Yanagi Muneyoshi into their works of literature. Yeom Sang-Seop had reflected activity of Chosun at death’s door by appropriating the theory of art of Yanagi Muneyoshi. Nam Goong-Byeok had presented aesthetics of self-discovery through the imagination and intuition about nature. And Min Tae-Weon had insisted literature of life and blood from reversal of Yanagi Muneyoshi’s view of nature. Byeon Young-Rho, Na Gyeong-Seok et al. represented reception and criticism of foreign ideologies in their essays by making Yanagi Muneyoshi as a node. Byeon Young-Rho had severely criticized vague praises about Korean white principle. Na Gyeong-Seok had insisted the literature of the common people as being free from proud in loneliness principle of art supremacy.
Tendency of being literature of intuition, new life and personality shown by P’yehŏ Coterie connected to the difference between Chosun and Japan, which had been experienced by them from the period of study abroad. In the same time, It had revealed difference of realization between Yanagi Muneyoshi and P’yehŏ Coterie. The former just only had looked at Chosun from outside but the latter had lived in Chosun.

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